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| 09|01|2006 |
Matt Armstrong
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| 08|10|2006 |
Peter Postma sales manager for Digital Hybrid shows off the new features and tools of the Kodak Look Manager version 2.0, which features a new user interface. The Look Manager system allows cinematographers to set the color correction on set so that the colorist knows how to time the dailies. ... »
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| 08|02|2006 |
By Ed HeedeIndie filmmakers have always walked the divide between pinched budgets and deeper ambition. Until recently, real DI and DI culture for true indies was a pipe dream. No longer.... »
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| 08|02|2006 |
By Bryant FrazerScott Hill, a Lightworks editor, is settling in for post-production after wrapping principal photography on Evan Almighty. He told us he values speed in the cutting room: "I never want to tax a director’s patience waiting for me to put stuff together. I want to be as fast as I can, and this, I think, helps me to be faster."... »
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| 08|01|2006 |
The directors Armi and Kinski from HSI/Culver City didn’t want a total frozen moment. We’ve all seen those completely frozen moments before and wanted to do something different with a super-slowed down moment, which meant using a photosonic camera that could shoot 2000 fps.... »
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| 07|28|2006 |
See how Dalsa and Codex Digital have been working together to create a digital cinema workflow solution to record 4K images from the Origin direct to the Codex Digital Data Recorder, which was released at NAB this spring. ... »
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| 07|25|2006 |
By David John FarinellaAfter ten years or so of watching their audio post production brethren work with an ever improving set of tools, production sound mixers are bringing digital, non-linear recorders on to sets across the globe. Of course file-based workflow is not without new and painful headaches.... »
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| 07|20|2006 |
By Matt ArmstrongFor 137 visual effects shots for the feature film Click, Sony Pictures Imageworks turned to FrameFlow, a visual effects studio operating out of Chennai, India... »
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| 07|20|2006 |
By Beth MarchantThe Inner Life of a Cell, an eight-minute animation created in NewTek LightWave 3D and Adobe After Effects will run for three days during the 33rd annual SIGGRAPH exhibition and conference in Boston next month.... »
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| 07|13|2006 |
Take the uncertainty out of HD production by combining the Cine-tal Cineimage monitoring system with the Gamma & Density 3cP color correction software to see precisely what the color corrected images will look like from the production set.... »
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| 07|07|2006 |
See how the Mo-Sys motion control system from Kontrol Freax works in this demonstration from the grounds of CineGear Expo 2006. ... »
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| 07|01|2006 |
By Will HollowayCan’t get a grip on the latest and greatest camera support launched at NAB? We tracked moving camera systems at the show and found lots of new twists on old themes for both field and studio production.... »
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| 07|01|2006 |
By Thomas StrodelA location-rich travel show shot in HDCAM and HDV for the Fine Living Network led one production team to create a conform guidebook they now can use on all future projects. The show’s director and executive producer shows you how they got there.... »
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| 07|01|2006 |
Jim FeeleyEvery year I leave the NAB convention thinking I’ve lost weight. Miles of walking the Convention Center isles and Las Vegas streets, combined with missed meals, give me a little definition. Or so I think. ... »
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| 07|01|2006 |
By Chris Zapara of Zoic StudiosChris Zapara of Zoic Studios explains the workflow, from the animatic, CG work and 3D compositing, to make a galactic explosion on the SciFi Channel’s Battlestar Galactica... »
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